What The EEF’s ‘Improving Literacy in Key Stage Two’ Report Tells Us About Teaching Writing Effectively.

What The Education Endowment Fund’s ‘Improving Literacy in Key Stage Two‘ Report Tells Us About Teaching Writing Effectively. 

Here is a brief outline of the key messages from the Education Endowment Fund’s summary on effective writing at Key Stage Two. The summary produced by the EEF uses a number of meta-analysis based research papers to draw its conclusions. It says:

Reading For Writing

  • Children listening to texts being read aloud is important to both reading and writing development.
  • Children being given time to discuss the books they are reading with others is valuable.
  • Children should have freely available a wide-range of texts to read from.

Teaching The Writing Process

  1. The writing process should be explicitly taught using the ‘gradual release of responsibility’ otherwise known as the ‘repeated practice’ or ‘self-regulated strategy instruction’ model.
  2. Children need regular practice at writing and the writing process to become successful!
  3. To achieve this level of practice children need to be kept motivated and fully engaged in wanting to improve their writing.
  4. Teachers need to be on hand, providing feedback to help pupils focus their effort appropriately.
  5. Schools should focus first on developing core classroom teaching strategies that improve the literacy capabilities of the whole class. With this in place, the need for additional support should decrease.

Teaching Through Genre Topics

Generating Ideas And Planning

  • Children talking through their text with a partner before and during their writing will improve writing outcomes.

Vomit Drafting

  1. Although accurate spelling, grammar and handwriting are important, at this stage they are not the main focus. If these aspects mistakenly become the focus at the drafting stage,  writing becomes slow and effortful and therefore hinders progress in writing composition.
  2. Encouraging children to continuously re-read their texts as they write them can improve writing outcomes.

Revision & Editing

  • Revising should be encouraged and ‘it should be accepted that work may become messy but that at this stage the audience will be limited’. 
  • When editing, spelling and grammar assume greater importance, pupils will need to recognise that their work will need to be accurate if readers are to engage with it and extract the intended information from it.

Publishing

**Please note that the views expressed on this blog are our own and may not represent our employer.**

References:

Education Endowment Fund (2017) Improving Literacy In Key Stage Two EEF: London

Creating A Community Of Readers: A Reading For Pleasure Article

This article is based on, and written in relation to, findings of educational research (Cremin, 2008, Pieper & Beadle, 2016 & Miller & Anderson, 2009). The tenor of this article is to allow the reader to reflect on children’s reading and is in no way a criticism of any school(s) policy or teachers’ practice.

If you’ve ever felt a pang of disappointment that some (and maybe even many) of the children in your class are not turning to books with enthusiasm and engagement, despite your best efforts at providing book-weeks, author events, booktalk sessions and a selection of ‘good’ titles in your class library, then I urge you to read on now.

A few weeks ago, I attended a conference in Cambridge on the subject of children reading for pleasure. One of the keynote speakers was Teresa Cremin, Professor of Education (literacy) at the Open University. She is also one of the co-authors of the book ‘Building Communities of Engaged Readers’. In a recent post on this website, my colleague and I described aspects of a school-based practice which we believe can encourage and maintain a classroom culture of ‘reading for pleasure‘. As someone who, like many others, has always read for pleasure, I am a passionate advocate for helping all children to experience the gains and satisfactions of such a brilliant resource. Since reading the book and attending the conference, I realise that,  while our own practice is very much affirmed by current thinking about reading for pleasure, there is still more to consider and act upon than I have been aware of.

National Curriculum And Reading

In 2013, the National Curriculum (for the first time in its history) required that children be taught to develop pleasure in reading. Although ‘enticed’ or ‘invited’ would have been better word choices than ‘taught’, this requirement was and is encouraging, since it established that reading for pleasure was no longer to be viewed simply as a desirable spin-off from reading instruction, a kind of optional extra. What was the rationale behind this official foregrounding of a hitherto ignored aspect of reading?

What Does The Research Say?

Research has shown that reading for pleasure – the desire and the will to read – carries significant personal and affective benefits for a child reader in terms of, for example:

  • fostering empathy,
  • engaging the emotions,
  • expanding the imagination,
  • providing the means of a temporary escape,
  • widening knowledge,
  • helping the child  negotiate an identity and a place in the world (Alexander, 2010).

These are arguably benefits for society in general. There are academic gains too. Children who read with engagement will read more, will absorb models for writing, develop a wider vocabulary and show improvements in spelling. (Sullivan and Brown, 2013; Cox and Guthrie, 2001.) However, research has also shown there to have been a definite decline in reading for pleasure in recent years among both primary and secondary aged children (Twist et al, 2012). This, as the book’s authors rightly say, is a cause for national (and international) concern. Something isn’t working in schools.

What I want to do in this article is to outline a primary school project set up by UKLA (United Kingdom Literacy Association) a few years ago, from which grew a distinct Reading for Pleasure pedagogy, and then to list some practical strategies which form part of this pedagogy.  The project, Teachers As Readers, aimed firstly to survey the participating teachers’ knowledge and use of children’s literature in the classroom and to find ways of enhancing this knowledge and its implementation. The most striking part of the project was the focus on the concept of  Reading Teachers, defined as ‘teachers who read and readers who teach’ (Commeyras, Bisplinghoff and Olson, 2003).

The Most Important Paragraph Of All

Developing as a Reading Teacher fundamentally involves  having a deep knowledge of yourself as a reader and of your own reading history, a commitment to reading children’s literature, together with knowing the children in your class as readers, knowing their informal reading practices both in and out of school, and acknowledging the diversity in what, how, and how much they choose to read. What is so exciting and innovative (and so connected to being human) about this concept is that, as the project showed, new and highly productive relationships between teachers and children can be forged from it, which impact positively on children’s attitudes to and pleasure in reading. If teachers are willing to position themselves as fellow-readers, share their own reading histories and experiences, and invite the children to share their everyday encounters with reading and their perceptions of themselves as readers, then it is possible for a truly reciprocal relationship to emerge, and a reciprocal reading community to be created where reading is seen as a pleasurable social practice, and talking about reading becomes endemic to the life of the classroom.

(I take this opportunity to mention that my colleague and I have been concentrating on creating a similarly reciprocal community of writers in our classroom, through everyone sharing and developing their own writing processes as part of on-going  writer to  writer conversations.)

Children Choosing Books To Read

The book shows how it is possible to translate the National Curriculum requirement into a thoughtful and sympathetic Reading for Pleasure pedagogy. The teacher’s identity shift from ‘arbiter’ of reading to Reading Teacher allows other transformations to take place. For example, knowing children’s reading preferences both in and out of school and then using this knowledge to provide a wide range of different kinds of texts in class or school libraries means that teachers are validating and respecting children’s reading choices. Children can then maybe be given the agency to be self-selectors of their own independent reading. Potentially schools might want to consider the possibility of dispensing with the practice of colour-coding children’s books (at least in class libraries). Though we appreciate that some schools also find colour-codes useful. Potentially though, children may very quickly learn to do what they need to do – be autonomously discriminating in their own choices. We only suggest this as a potential practice because the authors refer to studies (Krashen (1993), Sanacore (1999) & Gambrell,1996) which show that self-selection enhances motivation as readers, and point out that agency and motivation are crucial in fostering reading for pleasure. Of course, children would likely need advice and recommendations from their teachers. In terms of us, we can only say that our children see us as Reading Teachers; they trust us and will at least try out suggested texts that we pick out for them to try.

The question of agency and independence has implications for writing too. Allowing children to choose their own topics both increases motivation and makes clear links between reading and writing, since children will often draw on their personal reading to generate ideas for written pieces.  In our class, we tried out the use of ‘Writing Tricks Books’, in which the children could ‘magpie’ from their reading: words, phrases, and figurative language which might be helpful in describing settings or building up characters in their own writing. This has been interesting but a lot more work would be required to see what kind of benefits it has for the children’s writing outcomes.

Children Talking About Books!

One of the most important and transformative outcomes of the pedagogy to impact on reading for pleasure is the emergence, described in the book, of ‘inside-text talk’. During the project, the researchers observed apparently naturally occurring, ‘close’ conversations about reading which were taking place anywhere, any time, essentially informal, child-led, inclusive, and different from, though complementary to, the more engineered and  teacher-led ‘booktalk’ sessions which are often the only classroom discussions about reading. Rich examples of this kind of talk are given in the book. The project-teachers observed that when inside-text talk was going on, children were asking more questions, and that the questions were ‘more probing, demanding much more than simple recall of facts.  Teachers also saw the value of talk for the authentic assessment of reading, and for the ways in which it could facilitate collective and individual meaning-making.

If book talk is a core element of a community of readers, so is the social practice of a teacher reading aloud to the class – sharing poems, picture books, short stories and whole novels. Far from being simply a pleasant way to finish the day or the week, reading aloud is seen as a significant pedagogical activity with strong contributions to make to a climate of reading for pleasure. Through being read to regularly, children’s knowledge of what is out there to be enjoyed widens. If it is read well, they will absorb the shapes, language, sounds and rhythms of the text. However, while this has obvious implications for writing, the study made it clear that it is essential that children understand that hearing a text read aloud has pleasure at its heart, and that the text is not being used as a tool for another, narrower purpose, such as the teaching of grammar or as a future writing assignment. One of the project teachers had this to say, and you can hear the feeling of liberation in her words:

‘I now read to the class without thinking ‘I could do this with it or I could do that with it’ and I think the children sit back and think ‘I can just enjoy this’…..that had been a big struggle – thinking how many boxes can I tick, what objectives can I cover and you actually then lose the impact of….the book. You know, just enjoy it for a book and a good story and a good emotional journey.’

As the authors acknowledge, there is more work to be done, particularly in the area of parental involvement. I have appended a few of the strategies relating to parents which the book refers to and which were discussed at the conference. Again, the emphasis is on establishing reciprocity in reader relationships between families, parents and schools. This seems exciting.

There can be no doubt, from reading the studies, that implementing a reading for pleasure pedagogy offers huge gains in terms of creating communities of interested, engaged and enthusiastic readers. I conclude with a final word about test scores. In one of the project schools, teachers reported that over the academic year every child showed improvement in reading, and the scores of more than 50% of the children in the the two classes increased by three sub-levels or more. The following list of strategies and practices related to the pedagogy can be implemented in any classroom if teachers are personally and professionally committed to careful, systematic and consistent planning.

Which Ones Do You Think You Do?

  1. Widen your own reading of children’s literature; consult published booklists and review magazines.
  2. Allow more daily DEAR time.
  3. Have a class library with a wide range of texts.
  4. Allow the free passage of home texts to school and school texts being allowed to go home.
  5. Have child-led booklists of recommendations, and book displays with clear star ratings.
  6. Share book reviews with other schools.
  7. Connect with the local library.
  8. Read aloud on a regular basis.
  9. Ask children to write regular ‘reading letters’ to the teacher in their home-school reading record books. These require a brief answer.
  10. Have Daniel Pennac’s ‘Rights of the Reader’ understood and displayed in the classroom.
  11. Keep a record of children’s reading choices.
  12. Invite teachers, children and parents to create a personal River of Reading collage. Draw, stick on/write about anything you have read over a long or short period of time. Share in class.
  13. Invite parents into the school or class library at the end of the day, to chat or read with children. Value their personal contributions without making them feel intimidated! This could develop into a reading club or group.

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**Please note that the views expressed on this blog are our own and may not represent our employer.**

References:

  • Alexander, R., (2010) Children, Their World & Their Education London:Routledge
  • Commeyras, M., Bisplinghoff, B.S., Olson, J., (2003) Teachers as Readers: Perspectives on the importance of reading in teachers’ classrooms and lives Newwark, NJ: International Reading Association
  • Cox. K., Guthrie, J.T., (2001) Motivational and cognitive contributions to students amount of reading In Contemporary educational psychology 26(1), 116-131
  • Cremin, T., Mottram, M., Collins, F., Powell, S., Safford, K., (2014) Building Communities Of Engaged Readers London: Routledge
    • Gambrell, L., (1996) Creating classroom cultures that foster reading motivation In The Reading Teacher 50, 14-
  • Krashen, S., (2004) The power of reading: insights from research Portsmouth, NH: Heinemann
  • Sanacore, J., (1999) Encouraging children to make choices about their literacy learning In Intervention in school and clinic 35, 38-42
  • Sullivan, A., Brown, M., (2013) Social inequalities in cognitive sores arge 16: The role of reading In CLS Working Paper London: Centre for longitudinal studies
  • Twist, L., Sizmur, J., Barrlett, S., Lynn, L., (2012) PIRLS 2011 Reading Achievement in England Research Brief London: DFE

What Is Writing? Why Do We Write?

Language merely reflects our way of trying to make sense of the world.

– Frank Smith

Writing is the meeting point of experiences, language and society. It is intimately bound up in an individual’s intellectual, emotional, social and spiritual growth. Such patterns are complex draw on several disciplines (including psychology and sociology) (John Dixon, p.85)

Teachers all have different philosophies on what constitutes writing and therefore will respond differently to: children’s writing, organising instruction and representing children’s development accordingly. Here are some common and influential views on what writing is and why we do it.

  1. Frank Smith (1982) says ‘writing touches every part of our lives‘.
  • One of the first reasons we write is because it is a tool for communication in culture. It gives us the ability to share information over time and space with multiple individuals (explaining, recounting & opinion).
  • It can also be used as a permanent record or as a statement e.g. in history, geography  & science genres.
  • The third cultural aspect for writing is artistry (narrative and poetry).
  • Finally, there is also the personal aspect to writing. Writing allows us all to reflect, express our perceptions of self, to socially dream or to be critical (memoir, diary, recount).

By writing, we find out what we know; what we think. Writing is an extremely efficient way of gaining access to that knowledge that we cannot explore directly. – Frank Smith (1982, p.33)

  1. Ivanic, in Writing & Identity (1998), states that writing is related to:
  • Writing about yourself (for yourself and others),
  • Writing so as to position yourself within an audience,
  • Writing just for yourself,
  • Realising who you are through writing.
  1. Gee (2004) points out that, in literacy, what is important is not merely language, and surely not grammar, but writing the ‘doing-being-valuing-believing combinations‘ which he called discourses. Discourses are the rules and standards of reason that organise:
  • Perceptions,
  • Ways of responding to the world,
  • The conceptions of ‘self, “

4. Kress (1997) & Dyson (1993, 2003) include representations such as:

  • Drawing,
  • Oral storytelling,
  • Model making,

An approach described as the “multimodal perspective”. Children come to writing and composing using an ensemble of resources that they then combine in written and oral forms.

5. Ruth Finnegan (1986, 2002) has looked at communication of all kinds, drawing on the broader conceptions of literacy and language of a variety of cultural groups and thereby questioning dominant literacy and linguistic cultural assumptions.

6. Ingold (2007) has taken writing quite out of the realm of schooled literacies by widening out the lens to things like:

  • Explorations,
  • Looking at lines,
  • Music notation and other entangled forms of inscription.

Included within that was writing within the tangled knitting on boats, within treaded lines on a footpath and within map making and drawn images.

7. Digital Literacy is communicating in digital environments. Digital literacy can include: technical-procedural, cognitive and emotional-social skills. For example:

  • Using a computer program as procedural skill (handling files and editing visuals) and cognitive skills (the ability to read visual messages like GIFs and emojis).
  • Data retrieval on the Internet (working with search engines, evaluating data, sorting out false and biased data, and distinguishing between relevant and irrelevant data).
  • Effective communication on social media platforms and blogs is conceived of as requiring the utilisation of certain social and emotional skills within writing.

7. Fairclough (1989) talks about writing being a tool for the production, maintenance and change of social relations and of power. Writing contributes to the domination of some people by others. Teaching this, according to Fairclough, is the first step to emancipation.

8. Martin & Rose (2008) define writing as the negotiating of different types of ‘meaning’ realised through language and the ways in which these meanings are typically written. They are focused on the genres of writing and the patterns that can appear in them. Learning these patterns gives you access to different types of writing and therefore different opportunities.

The National Curriculum (2013) has this to say about writing:

  • Children write so that they can communicate their ideas and emotions to others.
  • Writing is developed through spoken language and reading.
  • Pupils who do not have opportunity to write fluently and confidently are effectively disenfranchised.
  • Pupils need to understand grammar and linguistic conventions for writing (2013:3)
  • It is essential that teaching develops pupils’ competence in the two dimensions (composition and transcription). In addition, pupils should be taught how to plan, revise and [edit] their writing (DfE, 2013:5).

If you have time, you may want to read our article: What If Almost Everything We Thought About The Teaching Of Writing Was Wrong?

**Please note that the views expressed on this blog are our own and may not represent our employer.**

References:

  • Dyson, A.H. (1993). Social worlds of children learning to write in an urban primary school. New York: Teachers College Press.
  • Dyson, A.H. (2003). The brothers and sisters learn to write: Popular literacies in childhood and school cultures. New York: Teachers College Press.
  • Finnegan, R. (1986). The oral and the written: Doing things with words in Africa. Chicago, IL: University of Chicago Press.
  • Finnegan, R. (2002). Communication. London: Routledge.
  • Flairclough, N., (1989) Language & Power Longman Group: Essex
  • Gee, J. K. (2004) Situated Language and Learning London: Routledge
  • Ingold, T. (2007). Lines: A brief history. London: Routledge.
  • Ivanic, R., (1998) Writing & Identity Lonson: John Benjamins Publishing Company
  • Kress, G. (1997). Before writing: Rethinking the paths to literacy. London: Routledge.
  • Martin & Rose (2008) Genre Relations London: Equinox
  • Smith, F., (1982) Writing And The Writer HEB: New York

The 29 Rights Of The Child Writer.

Daniel Pennac, in his book The Rights Of The Reader, created 10 rights for child readers and these can be viewed as a poster here.

In 2011, The National Writing project produced its own ten rights for writers which includes the following:

  1. The right not to share.
  2. The right to change things and cross things out.
  3. The right to write anywhere.
  4. The right to a trusted audience.
  5. The right to get lost in your writing and not know where you’re going.
  6. The right to throw things away.
  7. The right to take time to think.
  8. The right to borrow from other writers.
  9. The right to experiment and break rules.
  10. The right to work electronically, draw or use a pen and paper.

Jeni Smith helped write these rights and you can listen to her talk in the video below:

In my classroom, the children have changed a few of these and we’ve added a few of our own.

The 29 Rights Od The Child Writer

The role of the teacher:

  • The right to have a writer-teacher.
  • The right to be shown the ‘writing tricks‘ other authors use.
  • The right to a pupil-conference where you receive genuine writing advice from a writer-teacher; not a teacher-writer.

Home writing:

  • The right to a home/school writing journal.
  • The right to write anywhere.
  • The right to take writing to and from home.

Reader in the writer:

  • The right to magpie and borrow ideas from other writers.

What to write:

How to write:

  • The right to ‘box up’ and get your ideas together.
  • The right to move around the writing process – to write your own way.
  • The right to make mistakes, cross things out and change your mind.
  • The right to abandon free-writing pieces.
  • The right to take time to think, to be unsure and to write freely.
  • The right to get lost in our writing and not know where you’re going.
  • The right to experiment and take risks.

Sharing writing:

  • The right to be shy.
  • The right to give and receive ‘author talks’ from your peers.
  • The right to a supportive audience.

Getting your work ‘reader ready’:

My question now is – what would the rights be in your class? What have I missed? Do any of these seem unrealistic? Could you do the same activity with your class? Can we share what our classes come up with and try and create a @WritingRocks_17 list of writer’s rights together?

You can leave your rights as a comment below!

**Please note that the views expressed on this blog are our own and may not represent our employer.**

Books That Change Writing-Teachers

@WritingRocks_17 we recently asked: What books on the subject of teaching writing have inspired you most? This is what our readers had to say. This is a cracking list so far!

On Writing

Frank Smith – Writing & The Writer

514kEBcQcBL._SY344_BO1,204,203,200_Exploring the relationship between the writer and what he/she happens to be writing. An original examination of writing-as a craft and as a cognitive activity. It considers the necessary disciplines of writing, such as knowledge of the conventions of grammar, spelling, and punctuation. In particular, there is a concern with how the skills underlying all these aspects of writing are learned and orchestrated.

Learn To Write – Donald Murray

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Learn To Write gives you a framework you can use to create original and compelling writing. Donald Murray, with his famous clear and succinct writing style, will show you how to move from an initial idea all the way to a final draft.

On Writing – Stephen King

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Part memoir, part master class by one of the bestselling authors of all time, this superb volume is a revealing and practical view of the writer’s craft, comprising the basic tools of the trade every writer must have. King’s advice is grounded in the vivid memories from childhood through to his emergence as a writer.

 

Writing Home -Alan Bennett

downloadThis is a wonderfully entertaining collection of Alan Bennett’s prose writings. Writing Home brings together diaries, reminiscences and reviews to give us a unique and unforgettable portrait of one of England’s leading playwrights. Fantastic for any teachers who’d like to try memoir writing in their class.

Such Stuff: A Story Maker’s Inspiration – Michael Morpurgo

51uucyb5wPL._SX324_BO1,204,203,200_This insightful collection is perfect for those who want to understand how writing works and where stories begin. Revealing essays from Michael about more than twenty of his most popular novels are combined with key extracts from his books.

 

10 Things Every Writer Needs To Know – Jeff Anderson

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Jeff Anderson focuses on developing the concepts and application of ten essential aspects of good writing for students – motion, models, focus, detail, form, frames, cohesion, energy, words, and clutter.

 

The Way To Write – John Fairfax & John Moat

4184Y293KJL._SX310_BO1,204,203,200_This is a practical guide, for beginners, people working at home on their own and students and teachers on writing courses. It explains how to go about evaluating work and then taking steps to improve it.

Why Did I Write – Marie Clay 

41CXQ1A95FL._SY415_BO1,204,203,200_Dr. Clays examines a child’s first attempts to write. By tracing patterns of development in actual examples of children’s work, she gives invaluable insights for those in a position to assist the learning process.

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On The Writing Workshop

Donald Graves – Writing: Teachers & Writers At Work

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Truly inspiring. If you were only to buy one book from this list, make it this one. The best book I’ve ever read on the teaching of writing and has changed the way I teach writing forever. You can read a tribute to Donald Graves here.

In The Middle – Nancie Atwell

9780325028132Nancie Atwell is one of the most highly respected educators in the U.S. and across the world. She is the winner of the Global Teacher Prize. This book has inspired generations of teachers and shares the innovations she uses to make the biggest impact on learning schoolwide. You can read about our UK version of this approach, called Real-World Literacy, here.

The Art Of Teaching Writing – Lucy Calkins

51ej-Nv-mbL._SX258_BO1,204,203,200_I saw writing as a process of choosing a topic, turning the topic into the best possible draft, sharing the draft with friends, then revising it. But I’ve come to think that it’s very important that writing is a process not only of recording, but also of developing a story or an idea – with something noticed or something wondered about. When writing begins with something that has not yet found its significance, it is more apt to become a process of growing meaning.-

How’s It Going – Carl Anderson

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Meeting children where they are. A great way to give valuable feed-back to writers is through Pupil-Conferencing. We talk about its benefits here – and so does Carl Anderson in this fantastically practical book.

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On Building A Writing-For-Pleasure Classroom

Writing Voices: Creating Communities of Writers – Teresa Cremin & Debra Myhill

51snZNvi6IL._SX331_BO1,204,203,200_The perspectives of children, teachers and professional writers are often absent in the pedagogy of writing. This book gives expression to these voices, making a new and significant contribution to understanding what it means to be a writer. Importantly, it discusses how to teach through a Writing-For-Pleasure pedagogy and how to be a Writer-Teacher.

 

The Reader/Writer Teacher’s Companion: Build A Literate Classroom – Donald Graves

41BHDHFXB5L._SX409_BO1,204,203,200_A complete and easy guide to setting up a class so that it supports children’s reading and writing for pleasure. Just a beautifully easy to read and implement book.

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On The Connection Between Reading & Writing

The Reader in the Writer – Barrs & Cork

81fyN09fJFLA fantastic book which bridges the reading-for-pleasure pedagogy with learning to write. A must read for any @ReadingRocks_17 fans.

 

 

Authors As Mentors – Lucy Calkins

$_58

Again, another great book about how you can use children’s reading material to spark significant and worthwhile writing opportunities.

 

Opening Doors To Quality Writing – Bob Cox 

51aDjyKEM4L._SX409_BO1,204,203,200_This book puts the focus on pupils producing quality writing, developing their literacy skills and a love of reading in the process. It uses literary heritage texts as the stimulus for excellent learning.

50 Ways To Retell A Story: Cinderella – Alen Peat & Julie Peat

download

50 Ways To Retell A Story: Cinderella does exactly what it says on the cover – retells the favourite fairytale Cinderella – in fifty brand new ways! As a haiku, a recipe, a text message, a story written in ‘pig Latin,’ a diary entry, a ghost story and forty-four other innovative ways

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On Writing Study Lessons

Lessons That Change Writers – Nancie Atwell

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In this book, the focus is on Writing Study Lessons as a vehicle for helping students improve their writing. She shares over a hundred of these writing lessons which are described by her students as “the best of the best.”

 

The Bumper Book Of Story Telling Into Writing – Pie Corbett

512FPEPtwJL._SX346_BO1,204,203,200_Now made famous through the hugely successful Talk For Writing approach, this book encourages teachers to tell and for children to retell stories through gesture and other activities.

 

Write Out Of The Classroom – Colin Macfarlane

518FTiZS2LL._SX352_BO1,204,203,200_This book provides teachers with great ways of tapping into the huge inspirational potential of the richly diverse world beyond the classroom walls.

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On Poetry

Awakening The Heart – Georgia Herd

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A beautifully elegant book, it shows you how you can create life-long poets in your classroom. Full of strategies for generating poetic ideas with your class and create an environment where poetry can shine everyday.

 

What Is Poetry?: The Essential Guide to Reading and Writing Poems – Michael Rosen

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Over many years as a working poet, Michael Rosen has thought a great deal about what poems are, what they can do and the pleasure that comes from writing and reading poetry. In this invaluable handbook, he shares this knowledge and experience in book form for the very first time. Starting with a detailed analysis of a number of classic poems, he offers a real “writer’s guide” to writing and performing poems, as well as a wealth of technical information and tips. He then takes a fascinating look at a selection of his own poems and explains how and why he wrote them. I should say that this is completely suitable for children to read independently too.

Poetry In The Making – Ted Hughes

download (1)In a series of chapters built round poems by a number of writers including himself, Ted Hughes explores, colourfully and intensively, themes such as ‘Capturing Animals’, ‘Wind and Weather’ and ‘Writing about People’. The purpose throughout is to lead on, via a discussion of the poems (which he does with riveting skill) to some direct encouragement to the children to think and write for themselves. He makes the whole venture seem enjoyable, and somehow urgent.

Wishes, Lies and Dreams: Teaching Children to Write Poetry – Kenneth Koch

download (2)The classic, inspiring account of a poet’s experience teaching school children to write poetry. Koch describes his inventive methods for teaching these children how to create poems and gives numerous examples of their work.

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On Identity

Decolonising the Mind – Ngugi Wa Thiong’o

51KP2G0QRRL._SX296_BO1,204,203,200_Ngugi describes this book as ‘a summary of some of the issues in which I have been passionately involved for the last twenty years of my practice in fiction, theatre, criticism and in teaching of literature.

 

Translanguaging – Ofelia Garcia

41dJzA0kKQL._SX331_BO1,204,203,200_Looking closely at what happens when translanguaging is actively taken up to teach emergent bilingual students across different contexts, this book focuses on how it is already happening in classrooms as well as how it can be implemented as a pedagogical orientation.

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Functional Grammar Texts

Rediscover Grammar – David Crystal

511oP31htpL._SX327_BO1,204,203,200_Gives clear demonstration of how language structures link together, description of features and usage and cautions against easy mistakes. Updated to reflect developments in terminology following the National Curriculum and Key Stage 3 framework. This text was certainly useful when we created our Functional Grammar Table – see here.

Mechanically Inclined – Jeff Anderson

download (3)Some teachers love grammar and some hate it, but nearly all struggle to find ways of making the mechanics of English meaningful to kids. Jeff Anderson began researching and testing the ideas of scores of grammar experts in his classroom, gradually finding successful ways of integrating grammar instruction into writer’s workshop. Note: This was also a useful text when we were building our Functional Grammar Table – be mindful though that some grammar ‘rules’ used in the US do not reflect usage in the UK!

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Big thank you to all who have contributed so far:           

If you think we have criminally left off a book which simply needs to be here – leave a comment below stating the book and why it should be here!

**Please note that the views expressed on this blog are our own and may not represent our employer.**

“All Children Can Write”: A Tribute To Donald Graves

All Children Can Write

Donald Graves: 1930 – 2010

The following article by Donald Graves (written in 1985), considered by many to be the “father” of the process approach to writing, is a classic piece on the need for a change in the way writing has typically been taught in schools. This article helped spark the movement now known as ‘The Writer’s Workshop’ or ‘Process Writing’ approach and has influenced our modern interpretation called ‘Real-World Literacy‘.

This article is excellent because Graves discusses the challenges and needs of students, clearly lays out how teachers can establish a community of writers and the writing process, and provides examples of teachers and students working together.

Donald H. Graves University of New Hampshire Learning Disabilities Focus, 1985

Many children who have learning disabilities are poor writers. They equate their struggles with handwriting, spelling, and language conventions with a lack of ideas and information worth sharing. The writing-process approach to teaching first emphasizes what children know, then the conventions that will help them share their meaning with others in the class. This approach has led to major breakthroughs for young writers, particularly those who have learning problems.

This article reexamines writing as communication for oneself and for other audiences. This process occurs in classrooms where children see how teachers demonstrate their own learning in the midst of a highly structured environment.

Four essentials to a successful writing-process program are described: the adequate provision of time (at least 4 days per week), child choice of writing topic, response to child meaning, and the establishment of a community of learners.

Continued success in teaching writing depends on teacher’s work with their own writing. Study programs, as well as additional reading materials, are suggested.

I stood at the side of Ms. Richards’ third grade classroom watching the children write. We were at the beginning of our 2-year National Institute of Education study of children’s composing processes. The school had diagnosed two of the children in Ms. Richards’ room as having severe visual-motor problems. They were not hard to find.

Both leaned over their papers, their elbows crooked at right angles to their bodies to protect the appearance of their papers. I walked over to take a closer look at one of the two children’s papers. Billy’s paper was smudged, wrinkled, letters blackened; in several instances, his paper was thinned and blackened still more where he had gone through several spelling trials on the same work. The more serious aspect of Billy’s writing profile was not his visual-motor difficulty, the appearance of his paper, or his numerous misspellings. Billy was a self-diagnosed poor writer. He connected his writing problems with a lack of worthwhile ideas and experiences. In addition, he was well-versed in what he couldn’t do.

Billy had been in a separate program emphasizing visual-motor skills, letter formation, and various fine-motor tasks. No question, using a pencil was painful and arduous for him. Teachers complained that Billy rarely completed his work and was constantly behind the others, though he seemed to be articulate. Billy’s program was skill-based, disconnected from meaning, and filled with positive reinforcement about his ability to form letters on good days. There was not attempt to connect his writing with the communication of ideas.

Children with learning disabilities often work on skills in isolation, disconnected from learning itself, and therefore disconnected from themselves as persons. Therefore, like Billy, though their skills may improve slightly in isolation, the children do not perceive the function of the skill. Worse, they do not see the skill as a means to show what they know. Skills work merely supplies additional evidence for the misconception that they are less intelligent than other children.

Billy was in a classroom that stressed writing as a process. This meant the children received help from the time they chose a topic to the time they completed their final work. Ms. Richards played the believing game, starting with what Billy knew, particularly his experiences. In fact, Billy’s breakthrough as a writer came when his teacher discovered his interest in and knowledge of gardening. As Ms. Richards helped him to teach her about this subject, she learned how to plant, cultivate, water, fertilize, and provide special care for certain varieties of tomatoes. Although Billy wrote more slowly than the other children, he became lost in his subject, forgot about his poor spelling and handwriting, ceased to cover his paper, and wrote a piece filled with solid information about gardening. Once Billy connected writing with knowing-his knowing- it was then possible to work with his visual motor and spelling problems, but as incidental to communicating information.

Ms. Richards is now one of the thousands of teachers who teach writing as a process in the United States and the English speaking world. New research and publications, university courses, and numerous summer institutes, are now helping teachers and administrators to find out for themselves what students can do when they focus on the meaning of their writing. Much of the focus of these institutes and courses is on the teachers’ own writings: most of us had to rediscover the power of writing for ourselves before we could learn to hear what these young writers had to teach us.

Although writing-process work helps all writers, it seems to be particularly successful with people who see themselves as disenfranchised from literacy. I place in this group learners like Billy who have diagnosed learning disabilities and the accompanying “I-don’t-know-anything” syndrome.

The writing-process approach to teaching focuses on children’s ideas and helps children teach the teacher or other children in the class what they know, with emphasis first given to ideas and clarifying. This is the first experience many children have with other humans who work hard to point to what they know, instead of what is lacking in the message. Small wonder then that the writing process works best with the disenfranchised, who become a bit giddy at the prospect of seeing their words on paper affecting the thinking of others.

Understanding writing as communication is the heart of teaching the writing process. This article will first focus on the nature of writing, look in greater detail at research on the writing process itself, examine two principles in teaching writing, and then describe four basics in establishing a writing program. It also has a brief section on further reading and recommendations for summer programs for people interested in continuing their study of the writing process.

What Is Writing?

Writing is a medium with which people communicate with themselves and with others at other places and times. When I write, I write to learn what I know because I don’t know fully what I mean until I order the words on paper. Then I see … and know. Writers’ first attempts to make sense are crude, rough approximations of what they mean. Writing makes sense of things for oneself, then for others.

Children can share their writing with others by reading aloud, by chatting with friends while writing, or (in more permanent form) by publishing. Billy found that writing carried a different authority from spoken words. When he took the gardening piece out in December, he found that words written in September could be savored 3 months later. Furthermore, when he read the published books of other children in his room, he began to realize that his book on gardening was read by others when he wasn’t present.

Written language is different from oral language. When Billy speaks, he reinforces his meaning by repeating words and phrases. Unlike when he writes, an audience is present; when the audience wanders or indicates disagreement, he changes his message with words, hand signals, facial expressions, and body posture. This is the luxury of oral discourse. “Error,” adjustment, and experimentation are an expected part of oral discourse.

There is a different tradition surrounding most teaching of writing. Only one attempt, one draft is allowed to communicate full meaning (without an audience response). Red-lined first drafts are the norm; we blanch at any misspellings or crudely formed letters.

Still worse, writing has been used as a form of punishment: “Write your misspelled worry 25 times.” (This is called reinforcement of visual-memory systems.); “Write one hundred times, I will not chew gum in school”‘, “Write a 300 word composition on how you will improve your attitude toward school.” Most teachers teaching in 1985 were bathed in the punishment syndrome when they were learning to write. Small wonder that most of us subtly communicate writing as a form of punishment. We have known no other model of teaching.

The Writing Process

When children use a meaning-centered approach to writing, they compose in idiosyncratic ways. Each child’s approach to composing is different from the next. Some draw first, write two words, and in 10 minutes or less announce, “I’m done.” Others draw after writing or do not write at all; instead, they speak with a neighbor about what they will write. Some stare out the window or at the blank page and write slowly after 20 minutes of reflection. At some point in their development, writers believe one picture and two words beneath the drawing contain an entire story. In the writer’s mind, the story is complete; members of the audience shake their heads and try to work from drawing to text and back to understand the author’s intent.

Such idiosyncratic approaches by children seem capricious to outsiders, confusing to children, and bewildering to us as teachers. We intervene with story starters to “get them going,” produce pictures as stimuli for writing, and consult language arts texts for language activities. The texts provide “systematic” approaches, often through the teaching of the sentence, advance to two sentences, and finally development of the paragraph. Our detailed observation of young children writing shows they simply don’t learn that way. Rather, they write three sentences in one in their first year, not understanding where one sentence ends and the other begins. Studies of children’s understanding and use of sentences show they don’t acquire full sentence sense until much later (about fifth grade).

The most pernicious aspect of teacher interventions is that children begin to learn early on that others need to supply topics because they come to the page with nothing in their heads. A focus on skills and form to the exclusion of child initiated meaning further confirms their lack of fit with the writing process.

Prepared materials seek to reduce the stress and the uncertainty that writers face when they encounter the blank page. But the attempt to produce certainty through standardization by-passes the opportunity for child growth. There is good reason to expect tension when a child first writes.

When writers write, they face themselves on the blank page. That clean white piece of paper is like a mirror. When I put words on the page, I construct an image of myself on that whiteness. I may not like my spelling, handwriting, choice of words, aesthetics, or general cleanliness of the page. Until I can begin to capture what I want to say, I have to be willing to accept imperfection and ambiguity. If I arrive at the blank page with a writing history filled with problems, I am already predisposed to run from what I see. I try to hide my paper, throw it away, or mumble to myself, “This is stupid.” But with every dangerous, demanding situation, there is an opportunity to learn. Teachers who follow and accompany children as they compose help them to deal with what they see on the page. The reason writing helps children with learning disabilities is that they do far more than learn to write: They learn to come to terms with a new image of themselves as thinkers-thinkers with a message to convey to the world.

Teaching Writing- Two Basic Principles

After 12 years of working with writing research and the teaching of writing, I have found two principles essential for effective teaching of writing:

  1. The teacher teaches most by showing how he/she learns, and
  2. the teacher provides a highly structured classroom.

The best demonstration of how teachers learn is through their gathering of information from the children. They place the children in the position of teaching them what they know, usually through conferences. “Now you say that you have to be careful how deep you plant lettuce, Billy. Can you tell me more about that? And do you think the precise depth should be in your piece for the other children? Will they want to know that?” Billy’s teacher has shown him how she learns and how he should learn to listen to questions he soon will be able to ask himself.

Ms. Richards, Billy’s teacher, has a basic lifestyle of learning from everyone. Whether seated next to someone on a plane, in the teachers’ room, or talking informally with children, she wants to be taught; in a lifetime she has learned how important it is to help others to teach her. People leave Ms. Richards’ presence surprised they knew so much about their subjects.

Ms. Richards’ classroom is a highly structured, predictable classroom. Children who learn to exercise choice and responsibility can function only in a structured room. Furthermore, the up-and-down nature of the writing process itself demands a carefully defined room. Predictability means that writing occurs daily, at set times, with the teacher moving in the midst of the children, listening to their intentions, worries, and concerns. They know she will be nearby attending to their work. She rarely addresses the entire class during writing time. She works hard to establish a studio atmosphere. Predictability also means she won’t solve problems for them. Rather, she asks how they might approach the problem. She listens, clarifies their intentions and their problems, and moves on.

Children learn to take responsibility not only for their topics, content of their drafts, and final copy, but also for carrying out classroom decisions. A structured classroom requires an organized teacher who has set the room up to run itself. The teacher has already made a list of the things to be done to help the room function. From September through June, he/she gradually passes on those duties to the children. Attendance, caring for room plants and animals, room cleanliness, lunch lines, desk supervision, and cleaning are but a few examples of these delegations. When room structure and routine do not function well, the teacher and students plan together for the best way to make it function more smoothly. Ms. Richards’ room is based on extensive preparation in room design and knowledge of materials, the children, and the process by which they learn to take responsibility.

Teachers who function well in teaching the writing process are interested in what children have to teach them. Writing-process teaching is responsive, demanding teaching that helps children solve problems in the writing process and in the classroom.

Carrying Out A Writing-Process Program

I am often asked, “What are the essentials to strong writing programs?” Although the list could be extensive, I think that if teachers understand the following four components, their writing programs will serve the children well. These components are adequate provision of time, child choice of topic, responsive teaching, and the establishment of a classroom community, a community that has learned to help itself.

Time

Our data show that children need to write a minimum of 4 days a week to see any appreciable change in the quality of their writing. It takes that amount of writing to contribute to their personal development as learners. Unless children write at least 4 days a week, they won’t like it. Once-a-week writing (the national average is about 1 day in 8) merely reminds them they can’t write; they never write often enough to listen to their writing. Worse, the teacher simply has no access to the children. He/she has to scurry madly around the room trying to reach each child. With little access to the children, the teacher can’t help them take responsibility, solve problems for them, or listen to their responses and questions. The very important connection between speaking and writing is lost.

Although teaching writing 4 to 5 times a week helps the teacher, it helps the children even more. When children write on a daily basis, we find they write when they aren’t writing. Children get into their subjects, thinking about their texts and topics when they are riding on buses, lying in bed, watching television, reading books, or taking trips. When they write regularly, papers accumulate. There is visible evidence they know and are growing. They gain experience in choosing topics and very soon have more topics to write about than class time can accommodate. Children with learning problems need even more time. They need to listen to themselves with help from the teacher. In summary, regular writing helps:

  1. Children choose topics,
  2. Children listen to their pieces and revise,
  3. Children help each other,
  4. Teachers listen to child texts,
  5. Skills develop in the context of child pieces,
  6. Teachers to have greater access to children.

Topic Choice

The most important thing children can learn is what they know and how they know it. Topic choice, a subject the child is aware that they know something about, is at the heart of success in writing. Billy struggled with handwriting and spelling and equated those problems with not knowing topics to write about. When his teacher helped him to discover his knowledge and interest in gardening, he began to write, first haltingly, then with greater flow. He was open to help with spelling and handwriting when he knew he had something to say. Skills are important; learning disabilities cannot be ignored, but neither can teachers or researchers forget that writing exists to communicate with self and others.

“How can I get the child to write? Do you have any good motivators?” are frequent questions asked of me in workshops. The word get embraces the problem. There are thousands of “motivators” on the market in the form of story starters, paragraph starters, computer software, animated figures, picture starters, and exciting “sure-fire” interest getters. We forget that children are very sophisticated consumers of motivators from Saturday morning television alone. Worse, motivators teach the child that the best stimulus comes from the outside. Writing actually demands dozens of motivators during the course of composing, but they are motivators that can only be supplied by the writer himself. All children have important experiences and interests they can learn to tap through writing. If children are to become independent learners, we have to help them know what they know; this process begins with helping children to choose their own topics.

Very young children, ages 5 through 7, have very little difficulty choosing topics, especially if they write every day. As children grow older and experience the early effects of audience, even under favorable learning conditions, they begin to doubt what they know. From that point on, all writers go through a kind of doubting game about the texts they produce. They learn to read better and are more aware of the discrepancy between their texts and their actual intentions. If, however, overly severe, doubting teachers are added to the internal doubts of the child, writing becomes still more difficult.

If children write every day and share their writing, we find they use each other as the chief stimulus for topic selection. If teachers write with their children, demonstrating the origin of their topics, and surround the children with literature, topic selection is even easier.

Topic selection is helped through daily journal writing where children take 10 minutes to record their thoughts. Teachers may also give 5- to 10-minute writing assignments, such as: “Write about how you think our room could be improved” just following a discussion about how the room could be improved with the entire class or “That upsets you? Well, blast away on paper with the first thoughts that come to mind. But write it for you; if you feel like showing it to me, okay.” The teacher finds many occasions where it is useful to record thoughts and opinions on paper. Each of these approaches demonstrates what writing is for, as well as helping the children to have access to what they know and think.

Response

People write to share, whether with themselves or others. Writers need audiences to respond to their messages. The response confirms for the writer that the text fits his/her intentions. First, the teacher provides an active audience for the writer by confirming what he/she understands in the text and then by asking a few clarifying questions. Second, the teacher helps the entire class to learn the same procedure during group share time. Each writing period ends with two or three children sharing their pieces with the group while the group follows the discipline of first pointing to what is in the text, then asking questions to learn more about the author’s subject. All of these responses, whether by the teacher or the other children, are geared to help writers learn to listen to their own texts.

While the children are writing, Billy’s teacher moves around the room, responding to their work in progress. Here is an interchange Ms. Richards had with Billy about his piece “My Garden.” (The child’s text is presented, followed by the conference with the teacher.)

My Grdan

I help my Dad with the grdan ferstyou have to dig it up an than you rake an get the racks out of it. Than you make ros an you haveto be cerfull to make it deep enuff so the letis will come up.

Ms. Richards first receives the piece by saying what she understands about what Billy has written. She may also have him read the writing aloud to her:

Ms. Richards: You’ve been working hard, Billy. I see that you work with your dad on your garden. You know just what you do; you dig it up, rake it to get the rocks out, and then you have to be careful how deep you plant things. Did I get that right?

Billy: Yup.

Ms. Richards: Well, I was wondering, Billy. You say that the lettuce has to be planted deep enough so the lettuce will come up. Could you tell me more about that? I haven’t planted a garden for a long time.

Billy: Well, If you plant it too deep, it won’t come up. Lettuce is just near the top.

Ms. Richards: Oh, I see and did you plant some other things in your garden?

Billy: Yup, carrots, beans, turnips (I hate ’em), spinach (that, too) beets, and tomatoes; I like tomatoes.

Ms. Richards: That’s quite a garden, Billy. And what will you be writing here next?

Billy: You have to water it once you plant it.

Ms. Richards: Then you already know what you’ll be doing, don’t you.

There are many problems with Billy’s text: misspelled words, run on sentences, missing capitalizations, and incomplete information. But Billy has just started writing his piece. Therefore, Ms. Richards works on word flow, helping Billy to know that he knows something about his subject and that he has a clear understanding of what he will do next. Later, when his piece is finished, she will choose one skill to teach within the context of his topic. Above all, she works hard to help Billy teach her about his subject, to keep control of the topic in his hands, no matter how uncertain Billy might feel about his subject.

Notice that Ms. Richards has spent no more than a minute and a half in response. She then moves to other children while responding in the same manner, receiving a text and asking questions. As she moves to different children in other parts of the room (she does not move in rotation or down rows; the movement appears to be random), the other children can hear that the teacher expects them to help her with what they know. Lengthy responses tend to take the writing away from the child. For example, if Ms. Richards were to say, “I had a garden once, Billy. I planted all kinds of things too: I planted cabbages, those same turnips, yellow beans, pole beans, and corn. Yes, It’s hard work,” she’d be identifying with Billy’s garden and the hard work that goes into it, but she’s now the informant. Such sharing should come only when his piece is completed and his authorship of this piece established.

Ms. Richards’ statement is specific. When she receives Billy’s text, she uses the actual words he has composed on the page. All writers need to know their words (the actual words on the page) affect other people. Notice that very little praise is given to Billy in this type of response. Instead, the listener, Ms. Richards, points with interest to the words; they are strong enough for her to understand and to remember them. The use of specifics, rather than the exclusive use of praise, is a fundamental issue in helping Billy to maintain control of his piece, as well as to take more responsibility for his text.

Establish A Community Of Writers

Writing is a social act. If social actions are to work, then the establishment of a community is essential. A highly predictable classroom is required if children are to learn to take responsibility and become a community of learners who help each other. Writing is an unpredictable act requiring predictable classrooms both in structure and response.

Children with learning disabilities often have histories of emotional problems. Many have become isolated and feel very little sense of community. They themselves may produce unpredictable classrooms. Their histories in taking responsibility are equally strewn with failure. Notions of choice and responsibility are threatening and require careful work on a broad front. The following ingredients help to build a structured, predictable community of more independent writers.

  1. Write daily, at the same time if possible, for a minimum of 30 minutes.
  2. Work to establish each child’s topical turf, an area of expertise for each writer.
  3. Collect writing in folders so that writers can see the accumulation of what they know. Papers do not go home; rather, the collected work is present in class for student, teacher, parent, and administrator to examine. Some writing is published in hardcover or some more durable form.
  4. Provide a predictable pattern of teacher participation by sharing your own writing, moving in the midst of students during writing time, and responding in predictable structure to your students’ writing.
  5. End each writing time with children responding to each other’s writing in a predictable format: receiving, questioning.
  6. Set up classroom routines in which you examine the entire day to see which responsibilities can be delegated to the children. Solve room problems in discussion. The group learns to negotiate, whether in working with a draft or solving a classroom problem.
  7. Continually point to the responsibilities assumed by the group, as well as the specifics of what they know.

The writing classroom is a structured, predictable room in which children learn to make decisions. The external structure is geared to produce a confident, internal thinking framework within which children learn what they know and develop their own Initiative.

Continuing Education Of Professionals

Most teachers have been drawn into process work because they have seen significant personal growth by their students with learning problems. Students who lacked confidence and initiative and were disenfranchised from literacy learn to write, share their writing with others, and take charge of their own learning. Although some teachers may wish to start work on the writing process based on this article, I suggest additional reading and work with their own writing.

The single most important help to teachers who work with young writers is work with the teacher’s own writing. Both the National Writing Project and our work here at the University of New Hampshire stress work with the teacher’s own writing. Thus teachers become acquainted with writing from the inside by actually doing it themselves. It would be unheard of for a piano teacher, a ceramicist, or an artist working with water colors to teach someone their craft without practising it themselves. Most of us have had little instruction in learning the craft of writing. We’ve written term papers, letter, and proposals, but we haven’t worked with someone who has helped us to know what we know, then showed us how that knowledge is increased through the writing process.

Final Reflection

Before children go to school, their urge to express is relentless. They learn to speak and to carry messages from one person to another. They burst into their homes to tell what just happened outside. They compose in blocks, play games, mark on sidewalks, and play with pencils or crayons. For most children, early audiences are receptive: adults struggle to make sense of the child’s early attempts to communicate.

When children enter school, their urge to express is still present. A few enter already scarred from attempts to communicate with others. But the urge to be, to make a mark on the universe, has not left them. As children grow older and spend more time in school, many become still more disenchanted with writing. They can’t keep up with the rest of the class and equate their struggles with handwriting, spelling, and early conventions as evidence that their ideas are unacceptable and that they are less intelligent than others. Even for these children, the urge to express, to make worthwhile contributions, to express a meaning that affects others, does not go away.

The most critical factor for children with learning disabilities is the meaning-making question. Teachers need to first believe they know important information, then work overtime to confirm for the child the importance of that information. The children see their teachers write; they see and hear them struggle for meaning on an easel or overhead projector as they compose before them. The children become apprentices to the use of words.

When children write, they make mistakes on the road to communicating their messages. The teacher’s first response is to the meaning. Before a piece is completed, the teacher chooses one skill that will enhance the meaning of the piece still further. From the beginning, the teacher works to build a strong history for writers through collections of all their work, some publishing, and the writers’ effective sharing with other members of the class.

Most teaching of writing is pointed toward the eradication of error, the mastery of minute, meaningless components that make little sense to the child. Small wonder. Most language arts texts, workbooks, computer software, and reams of behavioral objectives are directed toward the “easy” control of components that will show more specific growth. Although some growth may be evident on components, rarely does it result in the child’s use of writing as a tool for learning and enjoyment. Make no mistake, component skills are important; if children do not learn to spell or use a pencil to get words on paper, they won’t use writing for learning any more than the other children drilled on component skills. The writing-process approach simply stresses meaning first, and then skills in the context of meaning. Learning how to respond to meaning and to understand what teachers need to see in texts takes much preparation.

The writing process places high demands on the teacher. The room is carefully designed for developing student independence: Decisions are discussed, responsibilities assigned and assumed. Routines are carefully established with writing becoming a very important part of the room’s predictability. Initially, response to the child’s writing is predictable with receiving of the child’s text, followed by questions of clarification, and the child’s next step in the writing process.

Teachers who use the writing process to greatest advantage spend time working with their own writing. They read and become involved in many of the National Institutes that are helping teachers use writing as a tool for their own learning. Soon they find their students’ learning careers change as well.

If you’ve enjoyed this article and the wise words of Donald Graves, we highly recommend that you purchase his fantastic book Writing: Teachers & Children At Work

You can also watch him being interviewed here:

Article adapted from: http://www.ldonline.org/article/6204

**Please note that the views expressed on this blog are our own and may not represent our employer.**

Teaching The Writing Process Is The Best Way To Improve Children’s Writing.

 The Writing Process

Research clearly states that teaching children the writing process in an explicit way is the best way to improve their writing outcomes. So how is this done? As we have discussed briefly here, Frank Smith describes the two roles involved in writing as being: the author and the secretary.

The Author

When children are in author mode they are concerned with generating ideas, organising thoughts, and arranging selected words and sentences appropriately and effectively.

The Secretary

When in the secretary mode, the child is more concerned with the transcription of the writing (e.g. using correct spelling, capitalisation, handwriting and punctuation).

Process Writing – The Writing Workshop – Real World Literacy

The Real-World Literacy approach recognises the importance of both the author and secretary roles. In our approach, children nearly always choose their own topics, write for real audiences and purposes. It is this motivation which makes children want to develop the skills needed to write effectively, conventionally and creatively.

This Process Writing approach originated from the work of Donald Graves and has been moved forward and exemplified by The Writing Workshop model popularised by Nancie Atwell.

Here is a beautiful interview with the master, the legend, the original writer-teacher, Donald Graves:

The Real-World Literacy approach emphasizes writing fluency, including techniques that improve a student’s ability to get words down on paper. It promotes frequent writing in contexts that are meaningful and authentic to the children. The intended reader is emphasized as both peers and teachers provide feedback, either in writing or in Pupil Conferences.

Our approach encourages the use of the students’ or your own writing as mentor texts for the teaching of composition and conventions. In the process approach, a teacher cannot teach writing without use of a student’s or their own writing. Research consistently shows this to be vital in terms of children’s writing process.

The stages of the writing process are:

  1. Generating ideas,
  2. Planning,
  3. Vomit drafting,
  4. Revising,
  5. Editing,
  6. Publishing.

Due to the nature of writing, children quickly learn and can be taught that these stages may overlap.

  • In the generating ideas stage, students consider what will interest, motivate and stimulate them and their readers.
  • In the planning stage, students plan and organise their writing (e.g., brainstorming, drawing or boxing-up).
  • During the Vomit Drafting stage, students create drafts of their writing pieces -potentially many.
  • In the revising stage, (the often forgotten stage) teachers encourage their student writers to make substantial improvements to the piece (i.e., thinking about the reader, using certain linguistic and grammatical features and genre-features). Peers and others often provide feedback to the author during this stage.
  • The apprentice writers in your class then assume the secretary role during the editing stage, focusing on correcting mechanical errors such as punctuation, spelling, and capitalisation.
  • The publishing stage can take many forms ranging from: contributing to the class library, entering writing competitions and sending it through the post to other interested and relevant readers.

Again, students may progress through the stages linearly or they may return to
previous ones (e.g., even after “publishing,” a piece could go through revision again), alternating between the author and secretary roles fluidly, and, through our Real-World Literacy approach, independently.

I’m sure you already do most, if not all, of these stages in your classroom but research shows that actually taking time out of lessons to teach aspects of the writing process is the way of improving your children’s writing outcomes significantly.

This is because newly acquired learning in writing can only ever be maintained and developed if children connect it with regular free-writing opportunities. If new writing skills are given the chance to be reinforced in a variety of genres and situations, increased application and transformation of these new writing skills is likely. This basically means regularly teaching an aspect of the writing process and then allowing children to apply and use it in their (regular) writing time. This forms the basis of Real World Literacy.

Each stage of the writing process gives teachers an opportunity to implement instruction that will increase the likelihood of excellent writing outcomes.

Consider this: according to Baer (1999), “no one learns a generalised lesson unless a generalised lesson is taught“. For example, a student who successfully writes a short-story in October may not maintain that ability through June – not without deliberate efforts to provide opportunities for regular practice. This is why our Genre-Booklets are so important.

Genre-Booklets

These are booklets which children take from the class library whenever they want to and which show them how to write in a specific genre. All children are given time to practise writing in these common and popular genres every week. As a result, their ability to write them well and independently increases vastly.

Building into your classroom strategies for promoting generalised outcomes such as this is what Real-World Literacy is all about. It provides children with specific strategies for generalisation and application of all the skills a writer needs. They can be used quickly, often, independently, at school or at home and for pleasure. We have built these strategies into each stage of the writing process: generating ideas, vomit drafting, revising, editing, and publishing.

Some of which we have already shared on this blog:

Self-Regulated Strategy Instruction & Improvements In Our Children’s Writing.

The Self-Regulated Strategy Development model can help teachers incorporate self-regulatory training into their writing pedagogy.

Many children struggle to coordinate the multiple cognitive and self-regulatory demands
of the writing process. Below we describe how the Self-Regulated Strategy Development (SRSD) model of instruction, which combines the explicit teaching of writing strategies with instruction in self-regulatory skills has been used in our classroom this year to great effect.

Self-regulation can be learned:

  • by being taught directly through instruction,
  • through repeated practice,
  • indirectly through sheer experience and observation of others.

What Has Been Given ‘Self-Regulated Strategy Instruction’ In Our Writing Classroom This Year:

  • Generating Ideas (using the 10-Ideas Sheet)
  • Boxing-Up (using our Genre-Booklets)
  • Vomit Drafting (Using our Vomit Draft rules – checking for ‘unsure’ spellings, punctuation and ‘sticky bits’),
  • Revision Tips Sheet (using certain grammatical or linguistic features)
  • Editing Checklist (proof-reading for spellings, capitalisation and other punctuation)
  • Publishing (using  The Cursive Script Examplar)

How The ‘Self-Regulated Strategy Instruction’ Was Delivered

  • Discuss It (explain why authors use these techniques)
  • Model It (show them how it is done)
  • Support It (through Pupil-Conferencing)
  • Independent Performance (give children the resources to carry it out on their own for the whole year)
  • ‘Held’ understanding – adapt these resources in future year groups to make children’s transitions even easier. E.g. have ‘Boxing-Ups’, ‘The Vomit Draft Rules’, ‘Revision Tips Sheets’, ‘Editing Checklists’ and ‘Cursive Script Exemplars’ for every year group.

As a result of setting up these resources, the children can now see a piece of writing through from generating an original idea all the way to publish – completely independently. They will attend to all aspects of composition and transcription in the process.

If you have liked what you have read here and would like to read more about our approach to writing which we call ‘Real-World Literacy’, you can follow the link here. If you’d like to view our Genre-Booklets, you can follow this link.

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**Please note that the views expressed on this blog are our own and may not represent our employer.**

References:

Teaching The Writing Process:

  • Atwell, N., (2015), In the middle USA: Heinemann
  • Bloodgood, J., (2002) Quintilian: A classical educator speaks to the writing process In Reading Research and Instruction, 42:1, 30-43
  • Calkins, L. (1998) The art of teaching writing. Portsmouth, NH: Heinemann.
  • Casey, M., & Hemenway, S. I. (2001). Structure and Freedom: Achieving a Balanced Writing Curriculum.The English Journal, 90(6), 68
  • Gardner, P (2011) The Reluctant Writer in the Primary Classroom: an investigation of mind mapping and other pre-writing strategies to overcome reluctance. Bedford: The Bedford Charity
  • Graham, S., & Sandmel, K. (2011). The Process Writing Approach: A Meta-analysi In The Journal of Educational Research, 104(6), 396-407
  • Graves, D., (2003), 20th Ed, Writing: Teachers & Children At WorkUSA: Heinemann
  • Jasmine, J., & Weiner, W. (2007). The Effects of Writing Workshop on Abilities of First Grade Students to Become Confident and Independent Writers In Early Childhood Education Journal Early Childhood, 35(2), 131-139
  • Levitt, R., Kramer-Vida, L., Palumbo, A., & Kelly, S. P. (2014). Professional Development: A Skills Approach to a Writing Workshop In.The New Educator, 10(3), 248-264.
  • McQuitty, V., (2014) Process-Oriented Writing Instruction in Elementary Classrooms Evidence of Effective Practices from the Research Literature In Writing & Pedagogy6.3 467-495
  • Porcaro, J. J., & Johnson, K. G. (2003). Building a Whole-Language Writing Program In Kappa Delta Pi Record, 39(2), 74-79.
  • Taylor, M. M. (2000). Nancie Atwell’s “In the Middle” and the Ongoing Transformation of the Writing Workshop In The English Journal, 90(1), 46.
  • Tompkins, G. E. (2011). Teaching writing: Balancing process and product. Upper Saddle River, NJ: Merrill.

Writing As A Craft – Writing Everyday

  • Gee, J. P. (2008) A sociocultural perspective on opportunity to learn In P. Moss, D. Pulin, J. P. Gee, E. Haertel and L. Young (eds) Assessment, Equity, and Opportunity to Learn (pp.76-108) Cambridge: Cambridge University Press
  • National Commission on Writing (2003) The Neglected R: The Need For A Writing Revolution America’s Schools & Colleges
  • Rogoff, B., Moore, L., Najafi, B., Dexter, A., Correa-Chavez, M. and Solis, J. (2007) Children’s development of cultural repertoires through participation in everyday routines and practices In J. E. Grusec and P. D. Hastings (eds) Handbook of Socialization: Theory & Research (pp.490-515) New York: Guildford Press
  • Tomasello, M. (2003) Constructing a Language: A usage-based Theory of Language Acquisition Cambridge: Harvard University Press
  • Tomasello, M. (2006) Acquiring linguistic constructions In R.S Siegler & D. Kuhn (eds), Handbook of Child Psychology: Cognitive Development (pp. 255-298) New York: Wiley